Architectural Review Asia Pacific - 2016-10-11

S T R AT E GY | M A N AG E M E N T | F I N A N C E | L E GA L | H R | T E C H N O L O GY | L E G I S L AT I O N
THE BUSINESS OF ARCHITECTURE
ARCHITECTURAL REVIEW
ISSUE 147 | 2016
STARTING A PRACTICE STRATEGY

WONDERS OF VR TECHNOLOGY
PROJECT MANAGERS BRAIN TRUST
BWA IN ACT EMERGING
KEN SHUTTLEWORTH
Founder, Make Architects
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16
+
FEATURE INTERVIEW
Ken Shuttleworth left
one of the most famous
architecture practices
on the planet to start
up on his own. It’s
worked out rather well…
CONTENTS
AR REGULARS BUSINESS 28 STRATEGY

Peter Saladino
10 EDITORIAL 12 LEGISLATION/NEWS investigates the
Changes to the Building challenges and pitfalls
14 QUOTES Act will afect all Victorian of starting your own
32 EMERGING PRACTICE builders and owner- practice
Sara Kirby meets Ben builders
Walker of BWA 58 EDUCATION
23 TECHNOLOGY Alan Pert, director
62 BRAIN TRUST Anthony Caruana says of Melbourne
Project managers and VR is revolutionising the Design School, on
architects: can they ever business of architecture continuing professional
be friends? 26 MARKETING development and
Peter Roper on how ‘Design for Ageing’
64 DEBATE
Is the monograph a content marketing can
selling tool or a waste work for architects
of precious time and
resources?
ISSUE 147 australiandesignreview.com

CONTENTS
DESIGN APPLICATION
36 LEAD PROJECT 50 FROM CHAIN MAIL
Hiscox building by TO CHAIN STORES
Make Architects How Aragorn
inspired Kaynemaile’s
44 EMERGING PROJECT architectural mesh
TJ House by BWA
54 CLOSED LOOP DESIGN
66 SKELETONS Michelle Dunner meet
Harry and Penelope Dan Phillips, an architect
Seidler’s house in Killara with an extraordinary
passion for recycled
materials
60 SHOWCASE
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Associate Publisher
Lachlan Oakley
10 EDITORIAL lachlan.oakley @ niche.com.au
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Madeleine Swain
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Assistant online editor and
Social media coordinator
Sara Kirby
sara.kirby @ niche.com.au
(03) 9948 4946
Business development manager
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ECONOMICS 101 nirma.ledford @ niche.com.au

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Keely Atkins
Y
ou may not know, but Erdington is about 3.8 miles from Jerrard
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Nicholas Dower
Well, Ken Shuttleworth, this issue’s cover star and the subject of our lead
Managing director
story, was born and bred in Erdington, while I spent a goodly portion of my Paul Lidgerwood
Publisher & Commercial director
childhood in Jerrard Drive, Sutton Coldfield. Goodness. Practically twins. Joanne Davies
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what’s the magic? And that’s what you’ve got to do. Don’t spend more than Cover:
Ken Shuttleworth, Make Architects.
you earn.” Photo: Harold David
Forehead slap, eh? Printing
But Shuttleworth is absolutely right. This is the second issue in the new Graphic Impressions
look AR and the mantra ‘don’t spend more than you earn’ is at the very heart
of what we’re doing with this change in direction. Not simply because the
previous incarnation of the magazine was causing issues in that department
for us (though, of course, that was a huge consideration), but primarily Architecture and Design Division
Architectural Review Asia Pacific
because we realised that, simple or not, it’s these basic business processes is a publication of Niche Media Pty Ltd
that can be the areas of greatest struggle for architectural practices. ABN 13 064 613 529
Suite 1418, Level 14, 1 Queens Road,
How do you regulate your cash flow, when, as Shuttleworth also notes, Melbourne VIC 3004
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Architectural Review Asia Pacific is a publication of Niche Media
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Review Asia Pacific ISSN 2200-243x ©2016 Niche Media Pty Ltd.
THE BUSINESS OF ARCHITECTURE All rights reserved.
12 LEGISLATION/NEWS
NEW VBA POWERS ARCHICENTRE

ANNOUNCED SHUTS UP SHOP
THE VICTORIAN BUILDING AUTHORITY (VBA) The wholly owned subsidiary of the
Australian Institute of Architects (AIA) ceased
HAS GAINED DIRECT POWERS TO REGISTER trading in early September, following the
AND DISCIPLINE BUILDING PRACTITIONERS recommendations of its board. In a media
WITH CHANGES TO THE BUILDING ACT 1993 release, national president Professor Ken Maher
explained the reasons for the closure.
THAT TOOK EFFECT ON 1 SEPTEMBER 2016 “For 36 years Archicentre has provided
Australians with a wide range of quality
architectural services. During this time the
practitioners to show why they market and environment in which Archicentre
should not be disciplined operates has changed dramatically and what
Q the VBA to approve codes of was once a unique and innovative business
conduct for building practitioners model has become one of many service
Q tightening requirements around providers in an increasingly competitive and
becoming an owner-builder, and densely populated market,” said Maher.
Q giving home buyers access to “An important change during this
information on owner-built homes period has been the welcome improvement
through an online register. of consumer watchdogs, strengthening
“These changes allow the VBA to be consumer protections in a way that overarches
a more eficient and efective regulator, the services Archicentre was established
strengthening consumer protection in to provide.
the domestic building market,” says VBA “The nature of the architectural profession
CEO Prue Digby. has also evolved. The role of architects has
“Building practitioners and branched out into new and increasingly
consumers starting a building project important domains. Such changes have
should check the VBA website to strained Archicentre’s business model and
understand how these changes may financial position for some time.
afect them. “An escalation in operating costs and the
Prue Digby.
“The VBA has engaged extensively recent expiration of a valuable long-term
with stakeholder groups to ensure contract have now rendered Archicentre’s
he changes will afect all Victorian the industry has been a part of the financial position untenable,” he continued.
T builders and owner-builders, with

the VBA now acting as the single
registering and disciplinary body.
implementation process.”
Further measures to improve
regulation will come into efect between
“The Institute’s decision to bring
Archicentre operations to an orderly
conclusion is the prudent and
The reforms introduced include: now and July 2017, including: introducing responsible course of action that will
Q abolition of the Building Practitioners ofences for registered building best serve the interests of all involved –
Board, with the VBA to register and practitioners undertaking work their customers, contractors and the broader
discipline building practitioners and registration does not authorise them to membership alike.”
issue owner-builder certificates of do, including as owner-builders: The Institute is now overseeing a wind-
consent Q prohibiting owner-builders from up of Archicentre’s operations. The 12 staf
Q banning builders from appointing engaging practitioners to do such members afected will either be redeployed or
private building surveyors for work, and made redundant, with all entitlements paid in
domestic building work – building Q allowing the VBA to appoint a full and the Institute has undertaken to refund
surveyors will be appointed by the manager to a private building existing customers for any services paid for
consumer surveyor business under certain but not delivered, and pay all contractors
Q building practitioners must reapply circumstances. ar and members for work carried out prior to
for registration every five years Archicentre ceasing to trade.
Q moving to a ‘show cause’ disciplinary For more information about the changes
process with the onus on building go to www.vba.vic.gov.au. For further info visit architecture.com.au.

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14 QUOTES
“DIGITAL
FABRICATION
NOT ONLY
OFFERS GREAT
NEW TECHNICAL
POSSIBILITIES, IT
MAY ALSO BRING
THE DESIGNER
CLOSER TO THE
ACTUAL PROCESS
“ARCHITECTURE OF MAKING AGAIN ”
IS A STRANGE / ALAN PERT,
PROFESSION WE PAGE 58
SPEND OTHER
PEOPLE’S MONEY
TO CREATE OUR
“WHEN YOU STAY OWN ARTISTIC
AT A FIVE-STAR VISIONS ”
HOTEL YOU DON’T / GLEN
SLEEP ON BRAND CHAMBERLAIN,
NEW SHEETS PAGE 28
WELL, WE CAN
LAUNDER BUILDING
MATERIALS AS
WELL ”
/ DAN PHILLIPS,
PAGE 54
“PRACTICALLY,
MONOGRAPHS
“WHAT WE DO COME AT A COST
HERE IS TRY AND IN TIME, EFFORT
TAKE AWAY A LOT AND EXPENDITURE…
OF THE BUSINESS OFTEN WITH
SIDE FROM THE LITTLE RETURN
ARCHITECTS “A GOOD PROJECT TO A PRACTICE’S
BECAUSE THEY’RE MANAGER IS A HELP SELF-FUNDED
NOT VERY GOOD TO THE DESIGN REFLECTION INTO
AT IT TO BE PROCESS AND THEIR WORK AND
ABSOLUTELY THEY ARE WORTH MODUS OPERANDI ”
HONEST” THEIR WEIGHT IN / CHRISTON
/ KEN JELLYBEANS ” BATEY-SMITH AND
SHUTTLEWORTH, / ROHAN WILSON, STEPHEN WEBB,
PAGE 16 PAGE 62 PAGE 65

“MY BIGGEST HOPE “I SEE THE
FOR THE NEXT FEW ARCHITECT AS THE
YEARS IS THAT THE CURLING STONE
REGENERATION AND THE PROJECT
AND DENSIFICATION MANAGER AS
OF CANBERRA THAT THE SWEEPER –
IS OCCURRING SKILFULLY USING
IN AND AROUND THE BROOM TO
THE CITY CENTRE ALTER THE STATE
IS DRAMATICALLY OF THE ICE IN
IMPROVED IN FRONT OF THE
TERMS OF BUILD STONE BY JUST THE
AND URBAN DESIGN RIGHT AMOUNT
OUTCOMES ” TO GET THE BEST
/ BEN WALKER, RESULT”
PAGE 32 / ALAN FINDLATER,
“AS AN ANTIDOTE PAGE 63
TO THE
INCREASING SPEED
OF EVERYTHING, A
BOOK IS SLOW TO
PRODUCE, TAKES
TIME TO READ AND,
EVENTUALLY, IT IS A
FIXED OBJECT”
/ STEFAN MEE,
PAGE 64
“THE COMMERCIAL-
“EDUCATION, ISATION OF
INSPIRATION, VIRTUAL REALITY
“SOMEBODY HAS TOOLS, APPS, TECHNOLOGY
TO LEAD THERE EVENTS, INSIGHT, HAS BROUGHT
HAS TO BE A FORESIGHT, VIDEOS, A COMPLEX
CONDUCTOR COLLABORATIONS, TECHNOLOGY
OTHERWISE INSTRUCTIONAL INTO THE HANDS
EVERYBODY’S MANUALS, BOOKS, OF ALMOST
PLAYING AT BLOGS… CAN ANYONE WITH A
DIFFERENT TIMES, ALL BE PART SMARTPHONE AND
DIFFERENT TUNES ” OF A CONTENT AS LITTLE AT $50 ”
/ KEN MARKETING PLAN ” / ANTHONY
SHUTTLEWORTH, / PETER ROPER, CARUANA,
PAGE 16 PAGE 26 PAGE 23

MAKING A SILK PURSE
KEN SHUTTLEWORTH
WHEN KEN SHUTTLEWORTH LEFT FOSTER AND PARTNERS AFTER 30 YEARS TO START
HIS OWN PRACTICE, HE WORRIED THAT HE MIGHT MAKE A PIG’S EAR OF IT. BUT HE
WENT AHEAD AND DID IT ANYWAY…
/ MADELEINE SWAIN
t was one of those watershed moments for Shuttleworth, who hails That rather rapid expansion could have seen the whole thing combust, but
I from Erdington in the UK’s West Midlands and studied at De Montfort

University. As one of the partners in the title of Sir Norman Foster’s
eponymous practice, he was feted for his outstanding work on such
Shuttleworth says the company’s growth was organic. “You try and plan, but
it’s so dificult… the phone goes and you’ve either won or lost a commission.
And you either need people or you don’t. So we’ve been pursuing projects
globally renowned projects as 30 St Mary Axe (aka The Gherkin) and with our clients and helping them across the world. We haven’t done any
HSBC’s headquarters in Hong Kong, but sensed it was time for a change. acquisitions and we don’t intend to do that. We’ll grow from our base in
“I was 50 and I felt it was now or never,” he says. “I could stay – London, where there are projects or where our clients want us to go and
and probably stay there forever – or, if I was going to do anything work there. But it has been a good ride. We’ve built 60 buildings. We’ve got
diferent, now was the time to do it… I had about 12 job ofers from 161 awards and commendations for our work, so it’s going really well.”
various companies, but I thought, ‘I may as well give it a go, because I’m Shuttleworth remains a creative force though. When he left Foster and
sure if I make a pig’s ear of it, there’ll be another three who could give Partners he says he realised just how important that is to him. “I decided
me a job’.” I really want to be an architect, I love architecture, it’s a great passion,”
The year was 2004. In the 12 years since, Make Architects (not to he recalls. But a practice of 150 people doesn’t run itself, so how does
be confused with the well-known Melbourne-based practice, MAKE a creative mind like Shuttleworth’s turn itself to the business side of the
Architecture) has gone from two people to 150 and three ofices – practice? He doesn’t, is the short answer. “We have a really good backbone
London, Hong Kong and now Sydney. to the ofice, which we call the Core, which is all the administration staf
How did he get the ball rolling? Well, to put it bluntly, there was a and anybody in that guise. So we have HR, the accounts department, the
spot of poaching. “I started of by announcing I was going to computer department… If you think of it like an ofice tower and the core
start up a new company, and the people I had worked with at Foster’s, of the tower is what actually holds the thing up and gives you that stability.
they phoned up and said, ‘Can I come and join?’ So it gradually evolved “What we do here is try and take away a lot of the business side
from two of us from day one to probably one more a month-ish, from the architects. Because they’re not very good at it, to be absolutely
working through, as projects increased and as cash flow increased.” honest. They can’t add up. They can hardly spell. But they can design.
And where did the projects come from? “There was a lot of Some architects I’ve spoken to spend all their time on administration. I
goodwill,” says Shuttleworth. “I was really amazed. It was a really good wouldn’t be the best administrator, I’d probably find the insurance hadn’t
time in the market, so [there were] existing clients who knew me from been paid or something. It’s important that you use the right people to
Foster’s and new clients came to me.” do the right job and not try and become all things as an architect.”

INTERVIEW 17
“WHAT WE TRY AND DO HERE IS TRY AND
TAKE AWAY A LOT OF THE BUSINESS
SIDE FROM THE ARCHITECTS. BECAUSE
THEY’RE NOT VERY GOOD AT IT TO BE
ABSOLUTELY HONEST.”

At Make Architects people may stick to doing what they do best, but
famously the practice has a non-hierarchical structure across the board.
It’s a fairly radical notion – an employee ownership model. “It was an idea
I had really, having worked in a diferent way,” explains Shuttleworth.
“I thought it would be better to change it. So I didn’t put my name on
the company. And I thought, rather than holding shares, [we’d] put all the
shares in an employee ownership trust. Or employee benefit trust, EBT it’s
sometimes called. And that is completely diferent to most models. So I
haven’t got any shares. All the shares are in a box in a trust for everybody.
And we all call ourselves partners, but we’re all actually employees. And
we all get paid a salary based on our contribution to the practice. And
then, at the end of each year, if we’ve made profit, which we have, except
for one year, that is distributed through everybody based on their salary.
“It’s a really fantastic encouragement to be eficient, to actually work
as a team, because everybody’s in it together and shares in the profit,”
he continues. “Nobody flies first class. Nobody gets in a taxi unless they
absolutely have to, because it’s basically coming out of your profit share.
“All the furniture’s quite cheap. There’s nothing flash about the
ofice… and I think that’s great. Because it encourages us to be lean
and keen, it encourages us to be eficient, but also it really gets the
best people to come and work here, because they do generally benefit
financially. And they also get their name on the buildings as well,
because I don’t put my name on everything.

20 INTERVIEW
+
Ken Shuttleworth on…
Coping in a tough economic climate. In 2008 we went all over
the world looking for work. So we went into Mexico and all sorts
of funny places. The Middle East. And the one that worked was
China.
Future proofing. We have a lot of repeat business. So Nottingham

University – five or six buildings. Oxford University – five or six
buildings. We have an engagement program and we try to look
after our existing clients and make sure they are happy.
Networking. You don’t realise when you’re at university, it’s quite

important to go to events and meet people all the time. Keep
meeting them, going to see them, keep sending them books. We
just do a lot of networking.
Starting out. Remain really light on your feet. Don’t get linked into
a big rent in a big ofice for a long period. Because you don’t know
what’s going to happen. We were very fortunate. Arup actually
helped us out in the early days; we basically camped out in their
ofices and they kept moving us around within their ofices.
Technology. The last six months it’s changed completely.

Realising virtual space is becoming really interesting. Our clients,
you can put the goggles on them and they can look up and see
their atriums and get a good feel for it. You can actually walk of
the edge of the building, which is quite unnerving to be honest,
and then walk back. It’s absolutely fantastic.
Growth areas. It seems there’s still demand for ofices and there’s
massive demand for residential. Those will probably be our two
main areas, but infrastructure must be the key in Australia.
“It’s Make, it’s not Ken Shuttleworth. It’s Make. And when I retire or go business to go through a process of analysing something. So we did
under a bus it just carries on without me because they haven’t got my the high street, we did garden cities and this year we’re doing global
brand to cope with and they haven’t got to buy me out at the end of the connected cities.” The purpose of this research and development arm
day. So I just walk away.” is to “generate new thinking… to inform the design of the spaces we
That naturally prompts the question of succession. Shuttleworth, inhabit” (www.futurespacesfoundation.org), according to the think
who describes himself as being like the conductor of an orchestra, says tank’s website.
he’ll simply pass on the baton. But he has yet to reveal who the next As a leader though, while Shuttleworth may not remember to pay
conductor will be. “There is a name in the safe in an envelope,” he says, the insurance, his approach to finance is simple and pragmatic. “It’s
with a smile. “To save any arguments… So they open that envelope and almost the most basic piece of economics that you’ve got to earn more
they get to know who’s next. I don’t think it’ll be that controversial. But than you spend. People ask me what’s the magic? And that’s what
I think somebody has to lead. There has to be a conductor. Otherwise you’ve got to do. Don’t spend more than you earn. People haven’t done
everybody’s playing at diferent times, diferent tunes.” that, by the way. People keep spending more than they earn. I can’t
Sometimes this means looking up and out from the orchestra pit, understand that. I’ve never understood that.”
says Shuttleworth. “The Future Spaces Foundation is a think tank that And he nominates equally old-fashioned virtues when it comes
we fund. It’s our think tank and we pull in people from outside of the to other leadership skills. “I think listening,” he says. “Leading from the

front, not pushing from behind. These are things that I learned in the
“WE ALL CALL OURSELVES Boy Scouts really. I think that leadership quality is more like setting an
PARTNERS, BUT WE’RE ALL example, rather than forcing other people to do things. And never ask
anyone to do something you’re not prepared to do yourself.”
ACTUALLY EMPLOYEES. AND WE Most telling is when Shuttleworth is asked about his best legacy
ALL GET PAID A SALARY BASED to date. Whereas other architects may wax lyrical about their most
successful projects, he pauses and then says emphatically, “Gosh! I
ON OUR CONTRIBUTION TO think the company. A new way of working in terms of architecture,
THE PRACTICE.” with employee ownership. Bringing together a fantastic number of
people. We have a one percent churn factor in the staf, which is pretty
amazing. I think that’s the legacy and also the work we’re doing on the
Future Spaces Foundation, that’s beyond the day job. It’s very good…
“And the buildings,” he adds, almost as an afterthought. ar
See Make Architects’ Hiscox Building on page 36.

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FUTURE YET?
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/ ANTHONY CARUANA
rchitects merge the beauty
A of design and art with the

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Until recently, architects were
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That’s not a failing of the design, but
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architect saw in their mind and what the
builder or client saw in the plans.
The commercialisation of virtual
reality technology has brought a
complex technology into the hands of
almost anyone with a smartphone and
as little as $50. And this ofers architects
great opportunities during design and
when presenting their ideas to builders
and clients.
Virtual reality (VR) equipment typically
uses a headset that covers the eyes
and ears of the wearer. These are called
head mounted displays (HMD). The
HMD blocks ambient noise and light
so the wearer only receives input from
the VR system. Some, like the Occulus THE COMMERCIALISATION OF VIRTUAL REALITY
Rift, Samsung Gear VR and HTC Vive,
TECHNOLOGY HAS BROUGHT A COMPLEX
connect wirelessly to a smartphone or
other device that transmits the virtual TECHNOLOGY INTO THE HANDS OF ALMOST ANYONE
environment. By sending slightly diferent WITH A SMARTPHONE AND AS LITTLE AS $50.

24 TECHNOLOGY
images to each eye, this creates a three- course on software development.

dimensional view of an environment. Arch Rival (www.archrival.com) is a US
ARCH VIRTUAL IS DESIGNED
These are sometimes called tethered VR company that specialises in creating VR
systems. solutions for diferent industries. Arch
FOR ARCHITECTS SO THEY CAN
There are less expensive systems, Virtual is designed for architects so COMMUNICATE EVERYTHING FROM
like the Kaiser Baas VR-X 360 goggles they can communicate everything from INTRICATE DETAILS TO LARGE-SCALE
that have a slot for holding a smartphone intricate details to large-scale spatial
SPATIAL IMPLICATIONS.
in place. The left and right side of the implications. The aim is to create such
smartphone’s display project diferent a vivid experience that when the client
images to each eye, giving the same walks into their new space, they won’t be
three-dimensional efect. And there’s also experiencing it for the first time. hand-held motion controllers, users are
the free Google Cardboard (vr.google. This solution works with the Occulus able to to construct three-dimensional
com) – an HMD you can make yourself. Rift HMD, which, after a couple of years environments. The system uses an Xbox
Tethered VR systems are designed of hype and promises, is finally shipping gaming console and the HTC Vive HMD.
to be interactive. When you’re using one to the mass market. You can expect the It’s a certainty that we will see new
you can ‘touch’ objects, manipulate them hardware to set you back around $1100, VR tools for architects that will let
and move freely. The simpler systems let depending on exchange rates when you them design in three dimensions
you see things, but the journey is created order. As well as being useful for showing using a tethered HMD and then send
by the designer and you can’t interact a finished design, VR can be used in the designs to clients, who may only need
with objects. design phase. a simple solution such as Google
Both can be useful, although UK company VRtisan (www.vrtisan. Cardboard to view the plan and
architects are most likely looking for VR co.uk) has developed a tool, initially for understand more precisely what the
solutions that are specifically tailored to game designers, which has potential architect and client wants. And those
their needs, without the need to take a for architects. By utilising an HMD with days are now very close. ar

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26 MARKETING
HOW CONTENT
MARKETING CAN BENEFIT
ARCHITECTS
IN BUSINESSES WITH HIGH-VALUE AUDIENCES AND LONG SALES CYCLES,
CONTENT MARKETING IS ONE OF THE MOST POWERFUL FORMS OF REACHING AN
AUDIENCE AND INFLUENCING ITS PERCEPTION OF A BRAND. BUT FOR THE CLIENTS,
STAKEHOLDERS AND OWNERS IN THE ARCHITECTURE INDUSTRY, IT NEED NOT –
AND, INDEED, SHOULD NOT – BE LIMITED TO BLOGS AND SOCIAL MEDIA POSTS.
/ PETER ROPER
y working definition of content Because that’s not the best question website, optimise your website for search
M marketing/branded content
is anything that, with the
brand removed entirely, still retains
to start with. The only thought process
to go through to arrive at an efective
content marketing plan is the same
engines making it easier for people to
find you even if they don’t know you
specifically yet. And so on.
value to the audience. ‘Value’ is another as with any form of marketing: start In the Business State example,
moveable concept, but in content from the top. Marketing is simply a content reaches the audience through
marketing it’s found at the overlap of suite of tools to help you reach your a variety of channels, and every detail
what’s important to both the brand and business objectives, and the starting reinforces what the brand wants readers
the audience. It plays out as either utility point of creating content is the same to think. The stories reinforce the
or entertainment. Education, inspiration, as any other marketing activity: how perception that the Bank is a partner
tools, apps, events, insight, foresight, do I reach the people I want to reach of successful businesses and that it
videos, collaborations, instructional (targeting) and how do I get them to cares about Victoria. The beautiful
manuals, books, blogs… all fall under think what I want them to think about photography and the fact its primary
those two things and can all be part of a me (positioning)? distribution channel is a print magazine
content marketing plan. If the answer to that question is associate the brand with quality.
For example, one project I’ve worked ‘content’, keep reading. Although, I In businesses like architecture
on, for Bank of Melbourne, focused on should point out, a single string to a practices, where the sales process
the success of Victorian businesses. marketing bow is rarely successful. can be months or years, content is
It’s something that’s important to the The marketing mix is diferent for every incredibly powerful because its efect
businesses, and it’s important to Bank business, but is incredibly important burns slowly. Unless you get into
of Melbourne because their success to get right and optimise regularly. the breaking news game, which you
enables the Bank’s success, so it Advertising shapes perceptions and shouldn’t, good content can work its
celebrates that success in its content informs. Events shape perceptions, magic for months and years. ‘Evergreen’
platform Business State. inspire, inform and set up direct content as it’s called in the biz. It’s the
If you’re not sure what content you conversations. Thought leadership type of content that, on a website, works
should create right now, that’s good. articles shape perceptions and, on a for a brand in several ways.

Even short-lived activities like events 2. INTERVIEWS
should be milked and leveraged for If having a point of view isn’t your thing, IN BUSINESSES LIKE ARCHITECTURE
a long time through written content, play the part of connector. Identify
PRACTICES, WHERE THE SALES
photos, video… whatever. influencers and interesting people in the
Here are three starter ideas kind of organisation you want to target PROCESS CAN BE MONTHS OR YEARS,
for content that can work well for and then the principal or CEO should CONTENT IS INCREDIBLY POWERFUL
architecture firms. invite them to be interviewed. These BECAUSE ITS EFFECT BURNS SLOWLY.
can be a written interview or a video.
1. THOUGHT LEADERSHIP Or even a Twitter chat. The reason this
It’s important not to just write and talk works so well is that, besides giving you A final word on distribution that applies
about issues that are important to you. content to fill your calendar, it creates or to content marketing in general: invest
Think about what’s important to your reinforces a relationship by positioning in it. Great content is half the job. It’s a
current and prospective high-value the interviewee as a thought leader and waste if the content doesn’t go where
clients. Think about the critical issues person of importance. it needs to go to do its job. Think about
and topics in your industry. Think advertising. Ninety percent of ad spend
about what keeps your clients awake 3. COLLABORATIONS is buying the media. So don’t think that
at night. You can’t solve them with a Content doesn’t have to be entirely content – even amazing content – will
blog post, but that’s not the point. created by your business to be efective. distribute itself. Most so-called ‘viral’
Even if you produce a white paper Consider partnering on projects videos online have been helped along
or report, the idea is to shape the with clients, suppliers or publishers. the way by media spend. As a rule of
perception of yourself as an expert in Anywhere there are overlapping but thumb, you don’t need to spend 1:9 on
the right areas. Be thought-provoking non-competing objectives is open for creation:distribution, but if you’ve got 10
– controversial, if you can – because brainstorming. Ask: can this party bring grand to spend on a video series, reserve
creating content that doesn’t catch the (a) skills or access needed to create great half for distribution. But, the better the
target audience’s eye isn’t worth the content, or (b) a distribution list we can content, the cheaper it will be to get it
time or money. leverage to get the content distributed? where it needs to go. ar

28 STRATEGY
GOING
INTO
BUSINESS:
CONSIDERATIONS
FOR STARTING AN
ARCHITECTURE PRACTICE
ARCHITECTS HAVE TWO MAIN AMBITIONS: DESIGN GREAT
BUILDINGS, AND START AN ARCHITECTURE PRACTICE.
THERE’S AN ALLURE OF BEING THE BOSS THAT PROMISES
COMPLETE ARTISTIC CONTROL AND THE ABILITY TO
PICK AND CHOOSE PROJECTS AT WILL. IN REALITY, THIS IS
SELDOM THE CASE, EVEN AMONG ESTABLISHED FIRMS, AND
IT’S NOT SO MUCH STARTING AN ARCHITECTURE PRACTICE
AS IT IS STARTING A BUSINESS.
/ PETER SALADINO
“ON A COUPLE OF
OCCASIONS MY
INEXPERIENCE HAS BEEN
TAKEN ADVANTAGE OF, BUT
THAT’S JUST THE NATURE OF
BEING NEW TO BUSINESS.”
NATHAN PORTER

“ARCHITECTURE IS A
STRANGE PROFESSION.
WE SPEND OTHER
PEOPLE’S MONEY TO
CREATE OUR OWN
ARTISTIC VISIONS.”
GLEN CHAMBERLAIN
N
athan Porter and Glen AR: How do you find clients? choose which clients you work for. The
Chamberlain are two architects NP: Your business will almost find you. better clients you get, the better work
who now find themselves slightly Our first project was in hospitality and I you get; you get a better reputation for
more like businesspeople than when hadn’t really done any hospitality work at work so you get a better client. It’s an
they first launched their practices. all. I put my heart and soul in and learned upward spiral.
Porter Architects is a Ballarat-based everything about that kind of project.
practice that has been in operation Once I had a solid project finished, we AR: How is money a factor?
for four years. Porter spent four years then picked up a hotel in Bendigo, then GC: Architecture is a strange profession.
working in Melbourne before receiving in Geelong, another in Ballarat. We spend other people’s money to
an enticing project ofer that saw him GC: Word of mouth is key for us. If we create our own artistic visions. You’ve
relocate and go into business for himself. have a multi-residential project that got to work really hard to build your
Chamberlain says that even in his sells out really quickly, and our name reputation and get people to trust you to
early days at Rothelowman his is attached, the phone rings. The spend all that money with you. It’s great
intentions were always to start his residential projects are all word of mouth when someone believes in what you
own practice. Now sole director of too, or sometimes clients see something do – it’s the best project ever. And there’s
Chamberlain Architects in Melbourne, on Instagram. always a necessity to secure that next
he’s seen a lot over 15 years of business project. You’ve got to keep the money
partners, the global financial crisis (GFC) AR: How do you learn to be selective coming in – it’s a never-ending pressure.
and more. about what projects you choose?
NP: Being more open-minded to try AR: When do ofices, websites,
AR: Did you have any business out new projects in the first two years marketing and social media etc
experience before you started? of the business, I’ve realised what I’m become a consideration?
NP: Absolutely none. On a couple of good at, what I can do, what I’ve got NP: In the beginning, I thought the
occasions my inexperience has been good experience in. Then those projects first and foremost thing I needed was
taken advantage of, but that’s just the tend to find you. We’ve had a go at a solid website and an ofice. These
nature of being new to business. Each other things like a medical practice and are two fundamentals. Once we had
time, each day, something happens and that didn’t work out. It’s not a project a project finished, I spent money on
you have to learn from it. I’ll ever do again because it required a professional photography for the project,
GC: No one is taught about business at higher attention to detail than we were which then became part of the face of
uni. It’s almost a running joke. Through experienced in. the business. It’s proof of a delivered
two partnership dissolutions, the GFC GC: We took everything at the beginning building. This week I’ve met some people
and a failed venture into China, I feel like just to build a portfolio. As you get a bit who will manage all my social media
I’ve earned my MBA. more experienced, you can pick and for a monthly fee. With just one other

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STRATEGY 31
+
SEVEN TIPS FOR
employee, I don’t have the time to worry
about it and the business is now in a
AR: What’s the biggest lesson you’ve
learned?
position where we can aford to pay NP: Being told my services are no longer
STARTING UP someone to take care of that. required on a job is fairly hard to take. It
came down to inexperience and naivety.
Portfolio: keep an open
AR: Does the business afect your I let the client work me down on the fee
mind at the beginning. private life? because I saw it as a good opportunity,
__________
NP: You don’t switch of. The biggest but I was struggling to deliver the project
challenge I had in the beginning was with such little income. I needed to work
Fees: understand the cost
when I’d receive an email at 10pm and on other projects to [supplement] this
and worth of your work. I felt obliged to read it. Then I battled main one and my services weren’t up to
__________
through sleep at night. In the first year the client’s standards. That was a gut-
that was very dificult. It was hard to take wrenching experience. But, as a result, I
Sanity: separate work
a much higher level of responsibility, but completely restructured my fee structure
and home. you have to accept that and find ways to and made sure I didn’t overcommit when
__________
switch of. I had a large project.
GC: It was easier to keep it separate GC: You have to specialise. I think in
Responsibility: learn to
when I had business partners because an architecture practice you need to
divest and delegate. it was contained. When I had no build a reputation around being good at
__________
business partners I thought it would be something, which is hard in a young firm
great and I’d have all this control, but trying to start out. In a past partnership,
Advice: speak regularly
it snuck up on me how consuming it we just took every opportunity that
with a mentor/coach. was. It got out of control really quickly. I came our way and it really frustrated
__________
had to make some adjustments to how me because I’d seen other people I’d
I talked about it with my wife. I spoke worked for specialise and hone their
Reputation: specialise
to her a lot more about it, which now skills until they became known for that
and hone your style. means she knows a lot more about the niche. We were everything and yet
__________
business than she did before because nothing. When I was in charge on my
you need to get it all out in the open. own again I thought, I’ve seen these
Business: word of
I also had to start to divest some of other companies do it so I’m going
mouth is key.
the things I was holding onto in the to work my niche and hone it and be
business. While I don’t have business good at it.
partners now, I’ve got some loyal
employees who I’ve made principals. I AR: How do you feel about your
think you need to have people you can practice now?
divest responsibilities to. NP: Looking back, it would have been
nice to have a little more business sense.
AR: Who do you turn to for advice? They teach you to be an architect when
GC: The best thing we ever did was you’re at university, and they teach you
getting a business coach in 2008… to be an architect when you’re working
just as the GFC hit. I still see him under somebody. But if you’re smart
fortnightly. He’s been able to transfer enough, and your eyes are open, you
a whole lot of skills that I wouldn’t can absorb how a business is run. It’s
have even known I’ve needed. Not just definitely challenging starting your own
numbers and accounting; it’s culture practice, but I find it a lot more rewarding
and what you want to be and how you than when I was an employee. I wouldn’t
think about it. They’re like a counsellor. do things diferently.
Being able to speak to someone about GC: It will evolve as I bring people into
the business and its ramifications on the business. It might not even have my
your life is really helpful. Even when I name on the door, but the business will
had business partners, we never had have some longevity that it didn’t have
that level of communication. You talk to before. I hope we continue to surf that
someone when you need help, but I think wave of better and better clients, better
getting someone in as soon as possible projects, happy staf, more engagement;
is really valuable. everyone loves it. ar

32 EMERGING PRACTICE

EMERGING:
BEN WALKER
ARCHITECTS
SARA KIRBY MEETS BEN WALKER OF
BEN WALKER ARCHITECTS, A PASSION-
DRIVEN AND FAST GROWING STUDIO
BORN IN A CANBERRA BACKYARD.
fter studying architecture and landscape architecture at the

“MY DAD HAD HIS OWN
BUSINESS, BUT THAT WAS
LARGELY THE EXTENT OF
A University of Canberra, Ben Walker set his sights on making
an impact on urban planning and the built environment in
Australia’s capital.
Beginning his career through urban design roles in both Canberra
EXPOSURE I HAD UP UNTIL and Melbourne, Walker began an architectural apprenticeship at
Townsend + Associates Architects (T+AA) in 2006. “T+AA was an
BWA COMMENCED.” incredible place to begin my career – the focus on detailing espoused
in the ofice is second to none and I learned a significant amount about
construction detailing there,” Walker says. “I was fortunate enough to
work on a range of projects in type and scale.”
Walker worked with T+AA until 2012, when he decided to start his
own practice, ben walker architects (BWA). With no previous experience
in opening up a studio, he went into the start-up considerably business
blind. “My dad had his own business, but that was largely the extent of
exposure I had up until BWA commenced,” Walker explains.
“I had always been interested in commencing my own practice at
some point in time, and opportunities to work on some friends’ projects
provided enough potential to me to kick of at that point.”
With the opportunity at his doorstep, Walker built a studio in his
backyard, fitted it out with some basic furniture and got stuck into the
work. The number of jobs he acquired grew significantly faster than first
expected, however, and soon BWA had upgraded to an ofice in the city.
While BWA operates as a sole practitioner, Walker explains that
the relationships he made while at T+AA – relationships he retains to
this day – gave him some important guidance along the way. “Bruce
and Catherine Townsend (T+AA directors) have been wonderful
mentors to me and assisted in the establishment of BWA by providing
advice when I needed it,” he says. “I suspect that the only reason I felt
comfortable and ready to commence my own practice was because
of the dedicated mentoring they provided. I’ve also been working
collaboratively with Pelle Architects in Canberra on a number of
projects, and Dom Pelle’s business experience and advice has been a
highly valued influence on how my practice is run.”
The biggest challenge, though, Walker says, was managing the
architectural workload together with the business requirements as a
sole trader. Allocating time for both elements of the job was dificult

“I TAKE A SENSE OF CONFIDENCE
THAT I UNDERSTAND EACH
DETAIL DRAWN BY THE OFFICE,
GIVEN I DREW IT MYSELF.”
during the formation of the practice, leaving him working very long “I love working with physical models and try to make at least small
hours. “Having to take care of all aspects of practice (including those conceptual models for each project. I try not to have a definitive
elements that are not as appealing, such as cash flow forecasts, sorting style necessarily, but I can see the repetition of some detailing and
insurances etc) can be a negative to the job,” he says. proportional qualities emerge in built works.
Starting BWA presented challenges, but with those also came many “I have a better appreciation for the need for patience during the
positives. Working as a sole practice allowed Walker to immerse himself design and construction process now,” Walker continues. The passing
in furthering his skills in areas he was specifically passionate about. of four years has given him enough time to grow significantly and come
“I was also teaching at the University of Canberra, so sole practice across some valuable learning curves. What are the most important
provided more flexibility with my hours,” he tells me. “That’s definitely a things he has learned? “That good design, documentation and
real positive.” construction takes time,” he replies. “As a new practitioner, all you want
Being in control of all aspects of projects – from design to are some images of finished works. I’m well beyond that phase now and
documentation – is important, Walker explains, and is one of the tackle projects with the understanding that they take time, most likely
biggest advantages he found in starting up BWA. “I take a sense of longer than expected, but that’s OK (and necessary).”
confidence that I understand each detail drawn by the ofice, given I Now that BWA has passed its establishing years, Walker has begun
drew it myself,” he says. to consider expanding the practice. “Expanding would allow me to
Did starting a solo practice help Walker to solidify his own style as undertake larger and more complex projects, but, at the same time,
an architect, allowing him to focus on his goals, undiluted by outside I’m happy as a sole practitioner and collaborating with others on select
influence? “Absolutely,” he says. “Prior to commencing my own studio, I projects,” he says. He’s also working on projects in other states. This
hadn’t undertaken significant amounts of design work, so I had to find allows him to travel regularly, which he says is a real blessing. “My hope
my feet quickly. I had influences and precedents that were regularly is that I can continue to have a combination of local and interstate
reviewed and studied, but hadn’t considered their influence on my projects that way.”
design work until BWA kicked of. As he still teaches part-time, the two roles keep Walker busy while
“Now, the design output is always being self-critiqued and I still have allowing the level of flexibility that suits him. He is happy with BWA’s
many influences from local and international architects, so my style will progress, but has a certain sight set on the country’s capital. “At
inevitably change and evolve over time. It takes two or three years after this point in time, my biggest hope for the next few years is that the
the first sketch is put to paper for a project to be fully realised, and for regeneration and densification of Canberra that is occurring in and
its success or failure to be evident, so the self-critiquing process is slow around the city centre is dramatically improved in terms of build and
and ongoing, but incredibly necessary,” he says. urban design outcomes,” he says. “This city has an opportunity to be a
It’s been four years since BWA began, a short time in the grand world leader in urban and sustainable growth, but at this stage there is
scheme of things, but enough time for Walker to feel that solidification little evidence of high-quality built outcomes.”
of his personal style. “My approach to design now is to allow the In four years, BWA has secured its place as a promising talent within
process to work away in my head for a period of time prior to putting Canberra’s architectural scene and, as the studio continues to grow,
pen to paper. I find that a period of ‘churn’ and envisioning is a Walker’s visions for the city may just become a reality – partly by his
valuable tool in identifying strong conceptual possibilities that should own doing. ar
be retained, and those ideas that should be tossed out,” he explains.
“From there, I sketch until I think there are a number of concepts worth See BWA’s TJ House on page 46.
developing and presenting to clients. benwalkerarchitects.com.au
THE BUSINESS OF ARCHITECTURE australiandesignreview.com

Credible,
Original &
Authentic
30 YEARS OF CREATING
CONTENT THAT CONNECTS
WITH THE A&D COMMUNITY
YOUR CONTENT PARTNER FOR GENUINE ENGAGEMENT
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Ph: +61 3 9948 4929 | Website: niche.com.au
PROJECT 37
HISCOX BUILDING
Architect’s statement. The Hiscox Building in

York combines a Make Architects design with the workspace expertise
of KKS to deliver a new underwriting and customer experience centre
for global specialist insurer Hiscox. The landmark building, which
opened in December 2015, is home to 500 Hiscox employees and is the
insurer’s biggest UK ofice outside of London.
Our brief was to create a totally bespoke workplace, designed
from the inside out, that brings together the very best thinking in
architecture, workplace and brand experience – a ‘best-in-class’
building that reflects Hiscox’s ongoing commitment to leadership,
innovation, creativity and growth. We were also set with the task of
designing a contemporary building in the historic York context.
The 4432-square metre open-plan ofice comprises four floors
connected by a spectacular central staircase. The stimulating work
environment includes a ground floor café and ample internal breakout
space, as well as a generous roof terrace with panoramic views of
the city. A carefully curated display of unique sculptures and other
artworks are integrated into the ofice, including a 12-metre long
decommissioned rocket from the Soviet era – together these pieces
seek to provoke and inspire, increase productivity and engender a
sense of pride among employees.
The design of the Hiscox Building maximises natural light, vertical
circulation and external terracing to create a bright, energised
workspace. The building envelope presents two faces: a south-facing
articulated brickwork weave that provides solar shading and a light
bleed shield to the adjacent residential site, and a north-facing glazed
elevation that addresses a new pedestrian route running through
the development. We selected robust materials that would improve

38 PROJECT
Lead architect, Make Architects:

Jason Parker
What was your role on Hiscox?
Make were the architects, having won a competition with KKS to
design the project. The competition proposal was unusual. Working
alongside KKS as workspace interior designers, we were able to develop
a design that worked from both the occupier and York perspective,
‘inside out’ and ‘outside in’. Reconciling the two became the driver for
the scheme design.
When did you become involved in the project?

Our team won the design competition in December 2012.
How long did it take from commission to completion?

The process was three years from beginning to end, with construction
taking around a year and a half.
Were there any specific challenges at the outset?

York is a walled city in the north of England founded by the Romans. It
is famous for the 13th century Gothic York Minster, which sits at the
heart of the city, and the cobbled streets that lead up to it, known as
The Shambles.
Much of the city is Heritage rich and our site is surrounded by
Grade I and II listed buildings. As such, we consulted with a wide
range of stakeholders from the earliest stages of the project to ensure
our scheme was sensitive to its context. The discovery of historically
significant remains just beneath the site’s surface also posed a
challenge. A collaboration between the York Archaeologist Trust and
with age and use, and used in situ concrete throughout the interior Arup provided the scheme with a solution to preserve them. The
interspersed with bespoke leather handrails and benches. building core location, reinforcement, piling and slab design combined
One of our main design influences was heritage-rich York itself. The to form a bridging structure within the ground floor slab leaving the
interior centrepiece – the ribbon-like concrete staircase – is inspired remains undisturbed.
by the undulating City Walls, as is the brick weave façade, which also
draws on the former hay and wool market that existed on the Hiscox What were the practical considerations or dificulties along the way?
site until the 1920s. The roof terrace, meanwhile, ofers fantastic views The cost parameters were challenging. The value engineering process
of the York Minster, while the new pedestrian route establishes a was actually an aspect we are really proud of. It was undertaken in a
pathway linking the River Foss to York’s city centre. truly collaborative environment with the designers, contractors and
The building is fully sustainable, with an integrated engineering clients collectively taking responsibility for decisions. In this way, the
and structural solution that provides a naturally ventilated environment vision of the scheme was maintained so that the design was distilled
through operable windows and underfloor heating. The roof terrace has rather than diminished.
been designed to support biodiversity, and hosts a large PV installation The seamless quality of the fluid, interconnecting stair could only
that generates free and sustainable electricity from sunlight, thereby be delivered by an in situ concrete solution. The three-dimensional
reducing the building’s overall carbon footprint. nature of the stairs and slab edges demanded bespoke formwork,
The end result is a beautiful, functional ofice that significantly which was set out and constructed on-site. The complex geometry
enhances the employee experience and sets a benchmark for all of the formwork and temporary works presented some of the most
Hiscox workspaces, all the while engaging and revitalising the local challenging build sequences on the project. An extremely skilled set
community. The contemporary building also adds a further layer to the of surveyors and joiners worked closely to deliver joint free sculptural
rich and varied site history. concrete requiring no decoration or embellishment.

PROJECT 41
Project details
Project name: The Hiscox Building
Size NIA: 4432 square metres, four levels
Client: Hiscox
Building owner: Hiscox
Occupier: Hiscox
Project manager: Asset Building Consultancy
Quantity surveyor: Gleeds
Brief consultant: Ralph Ardill Consulting Ltd
Architect: Make
Interior designer: KKS
M & E: BAM Services Engineering
Structural engineer: Arup
“IT IS A BEAUTIFUL, Contractor: BAM Construct
Agent: CBRE
FUNCTIONAL OFFICE THAT
SIGNIFICANTLY ENHANCES
THE EMPLOYEE EXPERIENCE
AND SETS A BENCHMARK FOR
ALL HISCOX WORKSPACES.”
JASON PARKER, MAKE
ARCHITECTS
What is your takeout from the project? The Hiscox building embodies a sense of joy exemplified by the
It really was a fantastic collaboration, at every stage, between the City integration of art both in the workplace and amenity spaces. The
of York, the client (Hiscox), the designers and contractors – everyone feature staircase provides the thread connecting each employee and
understood what we were trying to achieve and shared the vision. As the connection back to York, via the third floor terrace with its views of
such, each party was able to contribute to a building that conveys a the ever-present Minster.
sense of joy from both inside and out. On completion we have had a great response from both Hiscox
and the wider city. The results of the post occupancy survey by KKS
How well do you think the finished building has addressed its brief? were brilliant and staf satisfaction and their enjoyment was evident
Our brief was to create a totally bespoke workplace, designed from the from day one.
inside out, that brings together the very best thinking in architecture, Alan Millard, chief operating oficer, Hiscox UK, said: “Our York
workplace and brand experience. ofice has been a long time in the making and the finished product
The end result achieves that – and more. It is a beautiful, functional has exceeded all our expectations. It is an architecturally beautiful yet
ofice that significantly enhances the employee experience and sets practical building and, we hope, a fantastic addition to the city.”
a benchmark for all Hiscox workspaces. It engages and revitalises the
local community and, as a contemporary building, it adds a further layer Are there any particular touches or elements that stand out for you
to the rich and varied site history. or that you love?
The building’s location and arrangement has been designed in I have a few favourites:
response to the dominant city features – the York wall and the Minster One aim was to use the ofice as a place to provoke and inspire.
– and the spaces and routes created by the building siting enhance As such, a carefully curated display of unique sculptures and other
the cityscape and provide an appropriate setting for the neighbouring artworks are integrated into the ofice, including a 12-metre long
listed buildings. decommissioned rocket from the Soviet era.
The design utilises natural light, spatial variation, vertical circulation The sculptural impact of the concrete is very special. The curving
and external terracing to provide an exhilarating working environment, concrete floors wrap around the atrium, while the centrepiece, the
and embraces a materiality that has an integrity without decoration ribbon-like concrete staircase, snakes around the southern side of the
or adornment. The building envelope presents two faces, a south- atrium, linking all the floors in a complex geometry and incorporating
facing articulated brickwork weave and a north-facing glazed elevation balconies with bespoke leather handrails. It was conceived as an
addressing the city centre and the newly provided public space. extension of the city walls and can be seen through the glazed façade.

42 PROJECT
“OUR YORK OFFICE HAS
BEEN A LONG TIME IN THE
MAKING AND THE FINISHED
PRODUCT HAS EXCEEDED ALL
OUR EXPECTATIONS.”
ALAN MILLARD, HISCOX UK
Post occupancy evaluation

iconic
rocket!
spacious
very positive
great blown
space away
love it! amazing

views
impressive
roof terrace
and cafe
very
impressed
Visitor experience
Visitor comments on the new ofice, arrival
experience and welcome, and should anything be changed.
67 percent would not change anything in the visitor areas.
Vision and brand

Design: When asked if the building and workplace reflect Hiscox
values and meet the vision and design criteria…
Q 100 percent of people agreed, 62 percent gave 10 out of 10.
Brand: When asked if the environment supports the brand…
Art: When asked if the art was successfully integrated into the
building…
Expectations: When asked if their prior expectations were met…
Overall: Average employee satisfaction with the new working
environment including: improved employee experience, enhanced
collaboration and communication, workplace design, open plan
working, meeting Hiscox best practices, cycle facilities, central
stair utilisation, central and localised support facilities, and WCs…
Q 64 percent agreed, gave a score of 10 out of 10 or ‘very
satisfied’
Q 20 percent agreed, gave a score of six to nine out of
10 or ‘satisfied’, and
Q 16 percent gave no response. ar
australiandesignreview.com
EMERGING PROJECT 45
TJ HOUSE
SARA KIRBY TALKS TO BEN WALKER ABOUT TJ HOUSE – A HOME THAT
UTILISES A BACK-TO-BASICS PALETTE OF BRICK, STEEL, CONCRETE
AND TIMBER, MATERIALS REPRESENTATIVE OF THE CLIENT’S LONG-
STANDING RELATIONSHIP WITH MANUAL LABOUR.
How did the TJ house project come to you and was it a long Were there any other points of inspiration for the design?
tender process? The design takes cues from penthouses in Europe, New York and
The project was slightly unusual because it was a singular fitout of an other US cities. It uses steel framed windows and doors, exposes the
apartment within a larger development. The clients knew the joiner concrete structure of floor, column and ceiling, and utilises high-level
they wanted to use and the joiner recommended BWA to them for windows to maximise natural lighting. The use of robust finishes such
architectural services, as we had worked together previously. There wasn’t as recycled brickwork and roughly sawn, recycled timber is derived
a conventional tender process for this project as the work had to be from the intention to have the interior mirror an industrial workshop,
separately programmed within other parts of the apartment development. rather than a highly polished and stark finish. Each piece of joinery was
considered in reference back to this theme. The biggest task during
It sounds like the clients were pretty involved in the creative documentation was trying to achieve some consistency in the detailing
direction of the home? throughout the apartment, so even though there were a large number
By the time BWA came on board, the clients had worked up some of diferent materials used they all work together as ‘happy friends’.
clear ideas about their preferred spatial arrangements and the use of
the industrial style materials. We worked together to tweak the spatial Can you talk us through the clever and ample storage solutions?
organisation and then set about working up the detailing of the joinery The main storage is along the entire northern wall of the apartment.
– everything was custom fabricated, so we had visits to the joiner’s It is clad in recycled hardwood boards, which are broken by vertical
workshop, the steel fabricators, the mesh punching plant etc. The hardwood battens at regular centres. The battens hide the junction
clients had selected many of the PC (prime cost) items, so we had to of cupboard doors and pivoting shelves so that, when everything is
carefully integrate those into each joinery element. closed, the unit appears as a beautiful recycled timber wall at the end

46 PROJECT
THE USE OF ROBUST

FINISHES SUCH AS
RECYCLED BRICKWORK
AND ROUGHLY SAWN,
RECYCLED TIMBER
IS DERIVED FROM
THE INTENTION TO
HAVE THE INTERIOR
MIRROR AN INDUSTRIAL
WORKSHOP.
of the living and entry spaces. When the door fronts and panels are
opened, the wall, in a way, becomes an animated pattern of panels that
Project details
hinge and twist and fold in diferent directions. Storage cupboards, AV
Client: Tom and Jeanine Trevillian
equipment, hydronic heating manifolds and other things are all stored
Area: 164 square metres
within that storage space.
Scope: Interior architecture
Completion date: 2015
You have mentioned the densification and urban design of
Collaborative partners: Matrix Joinery,
Canberra, and how it needs improving. How did you complement,
Dezignteam (Base Building)
and improve on, that local design language in this home?
Principal design leader: Ben Walker
The apartment shows the possibilities of what can be achieved when
client, developer, architect and builder/joiner work closely together
throughout a project. Too often the architect’s role finishes at DA
(development application) stage and I believe there is significant value
added to the quality of the built outcome if the architect can stay
involved during the construction process.
In your view, what is the most successful element of the TJ house?

The use of steel in many diferent ways has been a real success. It’s a
credit to the client’s welding and fabrication skills – he has a history of
working with machinery and actually did a fair bit of the steel fabrication
himself. I would say the timber storage cupboard is also one of the
biggest successes. The warmth of the recycled timber really humanises
the interior, which otherwise largely comprises steel, concrete and brick.

WHEN THE DOOR FRONTS
AND PANELS ARE OPENED,
THE WALL, IN A WAY, BECOMES
AN ANIMATED PATTERN OF
PANELS THAT HINGE AND
TWIST AND FOLD IN DIFFERENT
DIRECTIONS.
Architect’s statement. The TJ house project The project includes the use of mild steel plate for benchtops,
comprises the fitout of a residential apartment within a new eight- shelving, cupboard fronts and door/window reveals, and perforated
storey building in Braddon, one of Canberra’s developing inner urban steel mesh for sliding cupboard fronts and ceilings. Recycled hardwood
centres. The clients’ clear vision for the desired character of the space has been used in joinery fronts, wet area benchtops, vanities and wall
strongly influenced the detailing and material choice. The fitout has an cladding. The steel and timber components are bespoke, individually
industrial character, partly reminiscent of the old workshops common detailed and carefully crafted. Each room is designed as a flexible
throughout Braddon, and is a reflection of the client’s life, which involved space: the study has a large steel and glass sliding door that can be
a lot of working with complex machinery components. The palette of used to open the space up to, or close it of from, the main living area at
steel plate, concrete, glass, recycled brick and timber combines to give any given time.
a contemporary and individualised character to this apartment. There The apartment provides a unique living setting for the owners and
is a consistency to the detailing that provides a cohesive link between has the ability to be ‘opened and closed’ as required during trips away.
the diferent materials used – the joinery becomes a series of furniture It is a low-maintenance dwelling with excellent access to the facilities of
pieces inserted within the apartment volume. the nearby city. ar

APPLICATION 51
FROM CHAIN MAIL TO

CHAIN STORES
A
bold and award-winning
product innovation is one of
the standout elements of the
newly redeveloped Pacific Fair Shopping
Centre on the Gold Coast.
The striking feature runs the
entire length of the shopping centre’s
6500-space car park and is believed to
be the biggest kinetic mesh façade in
the southern hemisphere.
It’s made from Kaynemaile
architectural mesh and comprises 10
million 28-millimetre polycarbonate rings,
each strong enough to hold a person’s
weight. There are actually two products
making up the façade – the kinetic
custom-engineered three-dimensional
mesh and the Kaynemaile-Armour
architectural mesh panels.
But it’s the mesh’s genesis that
really captures the imagination. Kayne
Horsham, the founder of the company,
was previously an artistic director for the
world famous Weta Workshop, based
in Wellington, New Zealand. Creating

Qualities of ground-breaking special efects from the
Kaynemaile- late 1980s onward, Weta is perhaps best
known for its long standing collaboration
Armour with filmmaker Peter Jackson, most
notably on The Lord of the Rings trilogy.
Q non-corrosive
While working for Weta, Horsham
Q unlimited sheet size
produced chain mail for Aragorn (played
Q lightweight
by Viggo Mortensen) and other LOTR
Q low wind loading
characters, and using that experience
Q uv tolerant
has now managed to address a chain
Q diverse colour palette
mail weakness – the join where the
Q simple to install, and
rings connect – that has plagued the
Q economic.
product for thousands of years. The
key is a seamless injection-moulded
polycarbonate mesh that has no join and
is light, durable and strong.
“Two thousand years ago, chainmail
saved knights from injury. Now we’ve
turned it into a high-tech armour for
buildings,” says Horsham.

52 APPLICATION
INSIDE
AND OUT
While Kaynemaile-Armour is protecting
the outside of buildings, its creator
hasn’t neglected the interiors.
Spacemaile is the name given to
a range of flexible interior screens,
designed to create privacy and breakout
zones, retractable room dividers and fall
protection screens, that don’t block all
the light from a space.
Available are hanging screens,
tension screens, folding or movable
screens and fixed-frame infill screens.
www.kaynemaile.com
Qualities of
Spacemaile
screens
Q responsive to lighting efects
Q work in dificult locations (80
percent air flow permeability)
Q lightweight
Q quick and simple to install
Q dificult and curved shapes
are achievable, and
Q economical.

54 APPLICATION – DESIGNING FOR THE CLOSED LOOP
A NEW
MINDSET
WHILE SOME WOULD DISMISS HIS WORK AS
FANCIFUL, DAN PHILLIPS IS PROVING HOW
ARCHITECTS CAN CLOSE THE LOOP.
/ MICHELLE DUNNER
an Phillips freely describes the
D
apprentice labour with the aim to ensure
houses he designs and builds the houses are afordable, the company is
as whimsical. a ‘for profit’ entity.
There’s the sign house where one Phillips looks to empower his
wall of the building is panelled using clients – all of whom must be involved
repurposed highway signs, the cork with the planning or construction of their
house, which leans heavily on the reuse home. But there is another message,
of discarded corks and the Budweiser to make a point about the specification
House – well, not literally designed to of virgin materials endemic in the
look like a beer can, but evoking the building industry.
brand’s iconic colour scheme and “Perhaps I’m regarded as a maverick
putting such materials as bottle caps and in the architectural community, but I have
an old beer tap to use in the bathroom. bumped into countless architects who
Where the community sees junk, envy the freedom that I have,” he says.
Phillips sees opportunity. From his home “They’re designing cookie-cutter houses,
in Texas, Phillips and his wife Marsha strip malls and apartment complexes
founded the Phoenix Commotion – a – miles away from what they thought
venture created so he could build homes architecture would be.
from recycled, salvaged and repurposed “We need architects. But unless an
materials. Since 1997, this self-taught architect is given absolute freedom of
designer and builder has concentrated design and budget, they lead a pretty
on constructing houses aimed at low- bleak life. I get to do whatever I want,
income families. No two buildings are subject to code-compliance.”
the same and they are inspired by the Phillips says waste in the building
extraordinary variance in materials industry segues from a lack of
Phillips sources for his projects. understanding about the value of recycled
But this is not a charity; while Phoenix and repurposed materials. “There is an
Commotion sources much of its material American neurosis that ‘used’ is somehow
from donated or free sources and uses ‘icky’. When you stay at a five-star hotel

you don’t sleep on brand new sheets.
Well, we can launder building materials as
well. It is a cultural mindset – irrational as
it may be – and very powerful.”
He points to ‘Apollonian’ thinking,
which he says is epitomised in
the building industry through
standardisation. “Builders routinely order
10 percent extra materials to account
for mistakes, mismatches and culls.
But there’s no infrastructure to receive
useable but unwanted building materials.
No contractor’s garage is big enough
to store materials that should not be
thrown away.
“I had always suspected that an
entire house could be built out of what
goes into landfill. And, as it turns out,
it’s true. Around 10 to 40 percent of the
average waste stream contains usable
building materials. It seems a bit piggy to
be throwing away these materials when
there are families who would do anything
to own a house.”
The need for repetition, for order,
for symmetry is deeply rooted in the
human psyche, Phillips believes. “Which
is heavier? Ding or dong? Dark brown
or powder blue? Space in the attic or
APPLICATION – DESIGNING FOR THE CLOSED LOOP 57
space in the cellar? Our sense of gravity there are tile shard mosaics everywhere
informs sound, colour and space. When that are magnificent.
we want a retreat we don’t look for the “All materials are raw materials.
40th storey of a high-rise; we head for Flaws and imperfections often enough
the woods because we want to feel are opportunity for wonderful design.
nature and organic process. The Apollonian mindset follows market-
“The great thing about building with driven strategies. That’s why all our
recycled materials is that it too is an houses look pretty much the same –
organic process; design grows out of the geometrical, predicated on the four by
materials, subject to the principles of art eight tyranny, and following the dictates
and design. of marketed design.
“My agenda is to build with recycled “Perfection is driven by the
materials, using unskilled labour and marketplace, because that is what
targeting underserved populations machines do – they create perfect and
and I’ve proven that you can do this repeatable materials. Advertisers and
and make a reasonable living. If I was a marketers seduce us into thinking that is
non-profit organisation people would the new and modern way.
say I’m doing this with bucket loads of “As it turns out, these marketed
grant money, but I’m subject to the same designs have more to do with
conditions as any other builder. manufacturing expediency than
“On the upside, 75 to 85 percent human preference. There is a
of my materials are free. I just lean
over by the side of the road and pick
them up. I use bottle caps, for example;
more steel goes into them each year “I USE BOTTLE CAPS, FOR
in the US than into autos. From that I
EXAMPLE; MORE STEEL GOES
can make a dandy floor, a wall covering,
a ceiling. I use broken tiles. Just walk INTO THEM EACH YEAR IN THE
through the streets of Pompeii and US THAN INTO AUTOS.”
conspicuous absence of organic shape

and texture, because machines can’t do
that, only people.
“Let’s face it. The marketplace makes
it easy and cheap to use standardised
materials. That’s what the marketplace
does – increase the bottom line. And
that’s what architects do – keep the client
happy with virtual, walk-through designs.
“Few clients will trust a stranger
– architect as he might be – to make
design decisions. The client wants to be
the director, and that’s when architects
salute and say, ‘yes, sir’. The design/
build model I follow allows for creative
adventure, serendipity and the use of
unplanned materials.
“Continuing to specify virgin
materials is absolutely unsustainable. We
are denuding the planet. But architects
don’t have an option because their
clients are demanding that. We must
change the mindset of the culture before
we will become sustainable.” ar

58 CPD – BY MELBOURNE SCHOOL OF DESIGN
DESIGN FOR AGEING AND

OTHER INNOVATIONS
AT MDS
ALAN PERT, DIRECTOR OF THE MELBOURNE DESIGN SCHOOL (MSD), EXPLAINS WHY
ARCHITECTS NEED CONTINUING PROFESSIONAL DEVELOPMENT (CPD) AND DISCUSSES
HOW THE SCHOOL CAN HELP.
he demographic landscape of of new pan university programs aimed at the education experience for students,
T our cities is changing fast, and

MSD has responded to this by
launching ‘Design for Ageing’ as part of
connecting and synthesising knowledge.
These initiatives consider how architects,
urban designers and landscape architects
but also as important opportunities
for collaboration with industry. Digital
fabrication techniques and innovation
a new Masters of Ageing. Demographic respond to the challenge. have the potential to rapidly change the
ageing is creating a shift in how to think shape of our environment and MSD is
and define homes, cities and public FUTURE VISION investigating its impact on our society,
spaces. This subject explores feasible The University of Melbourne and MSD through collaborative design studios
and sustainable approaches to keep have made significant investments and design focused research hubs.
the older segment of the population into technology and digital production We are exploring the impact on the
physically and socially active. Masters of facilities and there are plans to expand scale of products and rooms, to
Ageing is one of a number of examples these facilities. We see these as critical to buildings and cities. Digital fabrication

Alan Pert.
not only ofers great new technical innovation and culture. Understanding how things look, but on how things
possibilities, it may also bring the this, explaining it and helping ensure that fundamentally are and, more to the point,
designer closer to the actual process of the positive benefits are not outweighed how they could be. We are framing design
making again. MSD is positioning itself by the negative consequences of dense not simply as a collection of professions,
as an extension of practice. living, sprawling suburbs and afordability, disciplines or techniques, but as a vantage
will be at the heart of what MSD is about. on the world from which things can be
THE TWO-WAY STREET WITH The evolving city context remains seen and achieved. Our studios will frame
INDUSTRY at the centre of the School’s design problems and test solutions from diferent
We will be focused on enhancing and research agenda. MSD promotes critical perspectives, and they will be as much
promoting links between practitioners, thinking, visual skills development, about the complex systems of the city
the MSD research community and the creative research and data analysis, as as they will be about resolving things at a
wider University over the next 10 years. well as technical research in attempting building scale and a human scale.
MSD will develop, support and promote to tackle the problems facing Australia,
a range of strategic research projects, its cities, its growing population and its EXHIBITIONS
which will connect built environment unique landscape environment. Our Our end-of-year exhibitions represent an
research, the architectural profession studios promote broad speculation explicit critique of the Melbourne context
and architectural education while at the and independent thinking, as well as seen through the lens of over 80 studios
same time focusing on the University’s collective work with the aim of positioning (architecture, landscape, planning and
three grand challenges: architecture, landscape architecture and urban design) across two semesters.
Q understanding our place and purpose urban design into a broader social, cultural, Importantly, MSD is open to local,
Q fostering health and well-being, and political and economic context. Design national and international communities
Q supporting sustainability and resilience. studio agendas attempt to cast a wide with some studios travelling overseas to
net around the problems of our day. Our engage in the social, cultural, political
THE MELBOURNE FACTOR… studios encompass the questions as well and economic complexities of Asia,
Melbourne must rate as one of the as the solutions and everything in between; Europe and Latin America. So while
most stimulating and exciting places design in the context of our studios is many of our studios will focus on the
to study and work in the world. Like about the freedom to explore, testing the Melbourne context, our work also has
MSD, Melbourne is young and culturally boundaries in order to deliver a definition to be embedded in a wider context.
diverse. It is also at the top of the global of, and insight into, the question as much We cannot be remote observers of the
league in almost every sense and, in our as the solution, the context as much as the changes faced by cities and citizens
field, it hosts one of the world’s most artefact. MSD recognises that design has across the globe. Our students develop
interesting clusters of architecture, never been more important than it is today new responses to pressing world issues
engineering and built environment and the challenges of our time require living up to our ambition to be a global
professions and firms. The challenges architects, urban designers, landscape design school inside a global university.
ahead for the city in relation to physical architects and planners as well as the full Students, staf and researchers represent
growth and population expansion mean range of disciplines involved in shaping a world-leading, multidisciplinary faculty,
we need to recognise the city as an and reshaping the built environment united by a radical spirit of creative
engine of opportunity and a space of to focus their abilities not simply on endeavour and individual ambition. ar

60 APPLICATION – SHOWCASE
▼
Billi
Matt White
Dispenser Range
Introducing the new Matte White
Dispenser Range – elegant,
contemporary, sophisticated yet
simplistic...
Whatever your visionary design ▼
approach may be, Billi’s latest Matte
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Gibbon Group
design in any home kitchen or ofice Handcraft Collection
environment. Nature gives us so much to work
Keeping up with the latest colour with. Colours, shapes and patterns.
trends, the new matte white But, also, materials to construct
finish can be described as one of everything we can dream of.
understated elegance with a sense The Handcraft Collection brings
of refined luxury. together scraps and stitches of
Visit the website to find out more nature’s tale. Invite the outside in
about Matte White and other finishes with the collection’s organic patterns
in the Billi range, including Matte and hues. A green inspiration for a
Black and Rose Gold. ▲ tranquil atmosphere. Get away from
www.billi.com.au Viega Pty Ltd the hustle and bustle of your busy
workspace and enjoy the peace and
Viega Sanpress quiet of the outdoor experience.
Viega Sanpress Inox delivers pure
Modulyss designed the Handcraft
water, a safer worksite and German
collection, using the high-grade
engineered reliability and durability.
ECONYL nylon yarn derived from
‘The Squaire’, Frankfurt Airport’s recovered fishing nets and other
groundscraper boasts the largest waste materials. Discover Moss, Leaf,
ofice building in Germany at Willow and Grind on the Gibbon
145,000 square metres. Here, Group website.
modern business meets luxury
gibbongroup.com.au/modulyss
lifestyle in the midst of cutting
edge architecture. Integral to the
smooth functioning of the property
and safety of its users is Viega’s
Sanpress Inox stainless steel drinking
water system, which utilises Viega’s
industry leading press-fit technology.
Each joint only takes around three
seconds to press using a hand-held
power tool, and eliminates heat,
flame and gas from the joining
process, resulting in a much safer
worksite and huge time savings.
The job looks so good – it can be
considered a work of art.
www.viega.com.au

►
New metallic colours
for Stormtech Grates
Inspired by worldwide colour trends
Stormtech has launched three
new metallic colours – Sunlit Brass,
Blazing Copper and Rustic Bronze
– to ofer more creative options to
designers, specifiers and consumers.
The colour finishes are available
across the whole range of
Stormtech’s designer grates and
▲ drains, from its standard 100, 65 or
38 range through to fully customised
Bluebeam options. These metallic finishes will
Revu Mac add sparkle and give a sleek and
Bluebeam Inc, a leading developer luminous finish to any bathroom
of PDF-based annotation and design, ofering a luxurious and
collaboration solutions for glamorous feel whether it be
document-intensive technical timeless brass or trendy copper.
industries, is proud to announce www.stormtech.com.au
the release of Bluebeam Revu Mac.
Revu Mac delivers foundational PDF
editing, markup and collaboration ◄
capabilities to Mac-based
architectural professionals, enabling Kartell by Laufen
all project teams to streamline The perfect emotion in the
key functions and work processes bathroom…
across Windows and Mac operating Kartell, the iconic Italian company
systems. Bluebeam’s Studio Platform that transformed plastic into a
also now extends to Mac, enabling desirable design material, has
teams to work how they’re used partnered up with leading Swiss
to, on their preferred hardware, sanitary ware specialist, Laufen,
while still collaborating on the same renowned for its innovation and
documents. Download a 30-day trial expertise in high-end ceramics, to
at the website. create a complete bathroom project:
www.bluebeam.com Kartell by Laufen.
Designed by Ludovica + Roberto
Palomba, the stunning new
collection combines innovative
ceramic fixtures with a series
of translucent accessories and
furniture embracing the DNA of
both companies. The Kartell by
Laufen collection includes the use
of SaphirKeramik, a new lightweight
and revolutionary material that is
twice as strong, more ecological and
thinner than ceramics. The collection
features a unified ecosystem where
washbasins, tapware, vanities,
bathtubs, shelving, furniture and
accessories coexist with maximum
flexibility.
www.kartellbylaufen.com
62 BRAIN TRUST
BRAIN TRUST
AR ASKS A PANEL OF EXPERTS IN THE INDUSTRY THEIR RESPONSE TO THE QUESTION:
THE RELATIONSHIP BETWEEN ARCHITECTS AND PROJECT MANAGERS CAN
BE A COMPLICATED ONE. WHAT’S THE BEST WAY TO GO FORWARD?
The bad In summary, a good project provision of services by others

A bad project manager tries to manager is a help to the design – an instruction to accelerate
be things they are not. They are process and they are worth the issue of drawings without
no longer designers, regardless their weight in jellybeans. A bad suficient time to define and
of whether this was once their project manager is one you coordinate project scope can
background. They gave this up need to ignore and sidestep. make it extremely dificult for a
when they put on the hat of a An inefectual project manager consultant to meet their own,
project manager. A bad project is a waste of fee and oxygen. and sometimes overlapping
manager interferes with the Unfortunately in our industry obligations in relation to cost,
design and documentation we have too few of the first lot, time and quality. In these
process. They provide advice in too many of the second lot and circumstances the mitigation
areas when none is needed and growing ranks of the last lot as of the client’s risks – perhaps
they don’t or are unable, through architects and engineers leave ofsetting holding costs, or
lack of experience or expertise, the profession for the better fees achieving completion in time for
to provide advice in the areas ofered by ‘project managers’. the commencement of a new
where it is. semester, are managed through
/ ROHAN WILSON, The inefectual transferring risk to the project
DIRECTOR, An inefectual project manager / MEAGHAN team. The project manager
DESIGNINC is a waste of space, time and DWYER, does not always share this risk,
oxygen. Unlike the good project and will sometimes focus on
The good, the bad and the manager that acts a catalyst
PRINCIPAL, the more simple cost and time
inefectual. to the process, the inefectual JOHN WARDLE measures rather than applying
The good project manager is a retardant ARCHITECTS their management expertise
A good project manager is a and actually slows the process to resolve project risks and
person that enables the design down. An inefectual project A good project manager complexities.
team. They act as a filter and manager is one that, through a recognises that a team efort A good project manager will
conduit of information between lack of experience or expertise, is required to resolve many work with a broad appreciation
the client and design team. does not have the ability to of the challenges that arise in of their professional conduct, as
They (from a background either act as a filter or a conduit of navigating a large complex registered architects are required
of experience or expertise) information to the design team. project. A good project manager to do under the Architects Act.
analyse information and make a They don’t know, or are too lazy, also has the ability to work with
judgement of which information to make a judgement on what a team to facilitate an outcome
is important to the project and information is valuable and pass and to clearly and efectively
which is noise. They have a dual on any and all information; this is communicate the implications
role as working as an extension a lack of filtering of information. to both the client and the project
to the client and simultaneously Worse still. An inefectual project team. This way risks can be
working with the design team. manager often also neglects to understood and mitigated in the
Like a catalyst in a chemical pass on information thinking it best possible way.
reaction speeds up the process, a ‘unimportant’ or that they were Without this ability such
good project manager can speed ‘too busy’. This is a blockage of challenges are sometimes
up design and documentation information. This leads to poor communicated as simple
through efective and eficient project outcomes or, at the least, measures of cost and time, when
communication. extended project planning. actually they impact upon the

of the work being done. If there equally confident in their role as
is suficient trust and confidence a PM. Design and construction
then the relationship is likely to follows a process and, with
withstand the challenges that all parties working together,
present themselves. performing accordingly and
So how do you go about led correctly this should be a
developing trust and confidence? relatively smooth journey. There
I believe the best way to can be times when the stresses
start is to ensure the alignment and strains build up and things
of all parties involved, especially become a little taut; however,
where the relationships are
new and untested. This works
well by having a combination
of clarity and emotional
They are not, however, required So why is this so and what’s the commitment. Clarity is achieved
to be registered, nor are they best way to go forward? by things written down like
required to have professional The reasons for ‘why this scopes of work, project plans
indemnity insurance cover for is so’ are many and varied – and communication protocols.
their involvement in directing a entrenched views based on bad Emotional commitment is
project team to achieve certain experiences, briefing and scopes achieved face-to-face and belly-
outcomes. of services that are unclear, lack to-belly through dialogue and
As the pressures of cost and of experience and capability and breaking bread.
time continue to increase, and as unrealistic expectations to name With these solid foundations
the rate of change in our industry a few. the relationship can then develop
gathers pace, we are sure to Relationships in general are to suit the dynamics of the work
encounter unique challenges at complicated and benefit from being done and the styles of the
a greater frequency. There would a good start and then from people involved.
be benefit to clients, consultants being nurtured – the relationship To conclude, when I think of a the success of the outcomes
and contractors alike, were between architects and project good architect/project manager depends on all parties doing
the role and responsibilities of managers is no diferent. relationship I have an image in the right thing, even if this is
project managers to be more So what’s the best way to go my mind of the Scottish sport not always the easiest path.
formally aligned with those of forward? In my experience the key of curling. I see the architect It is vital that scope, brief and
other industry participants. ingredients of a good architect/ as the curling stone and the program are clearly defined
project manager relationship are: project manager as the sweeper from the outset and that it is
Q credibility – ensure that the – skilfully using the broom to alter clearly followed rather than
/ ALAN people involved have the the state of the ice in front of the placed in the bottom drawer
FINDLATER, appropriate capabilities stone by just the right amount to and forgotten. That being said,
MANAGING Q reliability – ensure the people get the best result. there should be enough in
involved will do what they say the balance to allow for true
DIRECTOR, they are going to do collaboration rather than
VICTORIAN Q intimacy – ensure the people / SIMON LINCOLN, simple pigeonholes within a
PROJECT involved get to know each PARTNER, MAKE team. I believe collaboration
other, so they respect each to be the best way to achieve
MANAGEMENT other, and
ARCHITECTS great results within the team
I have approached this ‘Brain Q self-orientation – ensure that The relationship between and a good PM will encourage
Trust’ piece from the perspective there is a balance of interest architect and project manager this, while still ensuring we are
of a client side project manager between the parties. need not be a complicated one. all playing on the same pitch
with experience working Credibility, reliability, intimacy Over the years and across many and on the right side! I have
with numerous architectural and self-orientation are the four projects I have worked with never worked with an architect
practices on large complex multi- variables of the ‘Trust Equation’ a variety of PMs all with their or project manager that didn’t
stakeholder projects. (Charles H Green). individual management style, share a common goal in aspiring
Indeed, the relationship Trust builds confidence and it some being more efective than for the best outcome for the
between architects and project is confidence that will strengthen others. The best PMs I have project. It is worth reminding
managers can be complicated – the relationship. The strength of worked with have all shared the ourselves that we are all working
in fact the relationship can range the relationship becomes critical same confidence in, and respect together to achieve this, as we
from being excellent to terrible when it will no doubt be tested for, the design team they are know, we are only as good as
over the life of a project! by the pressures and demands immersed within and have been our last project! ar

64 THE DEBATE
THE DEBATE:
THE MONOGRAPH
TO PRODUCE ONE OR NOT, THAT IS THE QUESTION…
STEPHEN WEBB AND CHRISTON BATEY-SMITH
DEBATE THE PROS AND CONS WITH STEFAN MEE.
editor and graphic designer we editing, tweaking and revising. Of course, this sounds like we
always simply used ‘the book’ Once finalised, however, the met at the start and decided
to describe them. “When might book becomes a marker in time. exactly what we were going to
the book be ready?” our patient When we started This Building do. While there was a general feel
publisher certainly asked on more Likes Me, we considered how for the book that emerged in early
than one occasion. Compared we had changed since Volume discussions, there was no definite
to using the term ‘monograph’, and what would we do diferently structure or format that we had
‘the book’ for us indicated a this time. The new book is in in mind. Many aspects were
more open ended intent less some ways a reaction to the introduced quite late and others
constrained by convention, first. Volume was chronologically developed over a significant span
that told a story and somehow ordered, with long form essays of time. We did not want to rue
suggested the physical, tactile and project descriptions the exclusion of a good idea.
object we were aiming for. Like a remaining relatively true to An early decision that we did
building, a book is a project that the monograph template. Our make was to organise projects
we could tackle. It was not an introduction of process pages in pairs. As we looked back at
archival exercise, or an abstract that described our working our work as a whole we asked
THE CASE FOR : collection of architecture. methods, and a photographic ourselves to identify ideas,
The book provided value essay by Max Creasy that themes or approaches that two
/ STEFAN MEE to us as an opportunity for acted as endpapers, provided projects shared. These were
PRINCIPAL, reflection, and there are not alternative ways to understand mostly accidental common
many opportunities for this in the practice. This Building Likes threads, and it created a diferent
JOHN WARDLE the busy life of an architectural Me takes this much further – it is way of thinking about the book –
ARCHITECTS practice. As an antidote to the non-chronological, includes 20 as a field of pairings rather than
increasing speed of everything, short form essays, and a large ordered from start to finish. It also
At John Wardle Architects a book is slow to produce, takes section called ‘Inventing Practice’ invited the reader to make their
we have embarked upon two time to read and, eventually, it is that brings the many voices of own connections and perhaps
publications that describe our a fixed object. I say ‘eventually’ our studio team to the fore. From pair projects diferently to us.
work. The first, called Volume, because the design process within, and outside, the bubble of Two models we submitted for an
was released in 2008 and the before final artwork is sent to practice it ofers many diferent exhibition in 2011 at the Pin-Up
second, called This Building the printers allows for constant ways in to our work. Project Space first tested the
Likes Me, is being unpacked
onto the shelves of a bookstore
near you as I write. While both
of these quite rightly could be “THE BOOK PROVIDED VALUE TO US AS AN OPPORTUNITY
described as monographs, I think
FOR REFLECTION, AND THERE ARE NOT MANY
that this may be a misnomer.
Within our practice and in OPPORTUNITIES FOR THIS IN THE BUSY LIFE OF AN
conversations with the publisher, ARCHITECTURAL PRACTICE.” STEFAN MEE

“TOO OFTEN MONOGRAPHS
EMPHASISE AN ARTIFICIAL DESIGN
PROCESS WITH LITTLE LONG-TERM
RELEVANCE.” CHRISTON BATEY-
SMITH AND STEPHEN WEBB
THE CASE AGAINST:

/ CHRISTON
BATEY-SMITH
(LEFT) AND with polemical essays in the and, at this turning point in media
STEPHEN margins of practice. They may digestion, what are the alternatives
technique of pairing projects WEBB (RIGHT) make sense of the work from a we haven’t yet imagined?
to illustrate the migration of personal practice perspective, The monograph may be
ideas that occurs organically, and
DIRECTORS, but rarely engage with a wider relegated to a gift to clients and
often subconsciously, within DESIGNINC audience or worldview. colleagues, as on-shelf sales
our practice. Architectural monographs Too often monographs reduce and online searches reveal
Our book is as much about can create an important voice emphasise an artificial design a plethora of weighty tomes often
the people in and around the for architects in an industry process with little long-term sold more to overseas hunters.
practice as it is about the projects where their role is increasingly relevance. The long-term benefits to brand
we create together. The way that marginalised. They can be a Such dialogue can suit a recognition are uncertain with
we work with each other inside fantastic source of inspiration design audience, but even then this form of investment.
our studio space, as co-authors and reflection, but at what cost what message does this send to There appears to be
and co-producers, extends to architectural debate when our next generation? fewer publishers promoting
to how we work with others created by individual practices Another critique of the monographs as terms
outside it... like clients, engineers, talking about themselves? How personal perspective monograph complicate and the number of
builders, fabricators, craftspeople will they remain relevant in an is they often support the copies reduce, costs per volume
and artists. The practice is bigger ever-increasing range of screen perception and characterisation can increase considerably. Is it
than us alone. The interleaf pages and tablet media? of architecture as purely a time to reinvent the format and
of the book, that are discovered At best they can provide a material and spatial exercise. take an alternative approach to
between projects and essays, book of project ideas (see James This can miss the poetic the norm of essays and project/
are a collection of archival Taylor Foster) that explain and richness that accompanies an portfolio discussions? Maybe,
images that often focus on these demonstrate the potential of architecture founded on the but as long as the practice’s
relationships between people design to influence people’s lives. human experience of occupation. personality can shine through.
– invariably loyal, sometimes They make sense of a Practically, monographs Is the efort worth it, many
humorous, and often joyful. practice’s work in the context also come at a cost in time, would ask? On the rare occasions
Curiously, we did not figure out of the bigger role of architecture. efort and expenditure… often the profession is provided with
a name for the book until the This assumes a diverse with little return to a practice’s self- a voice, we need to grab the
end. A working title of Volume audience of interested and funded reflection into their opportunity to promote the
2 was only ever temporary. One informed readers. work and modus operandi. quantitative qualities of good
of the last tasks of our graphic At worst they have become Let’s not dismiss all the benefits of architecture.
designers was to consider the “little more than glossy hardcover this expenditure whereby, This includes its potential to
cover and this prompted us to promotional brochures to when done well, a practice funds reconnect people and nature
make long lists of alternatives. entice an uninformed and and invests a resource to distil, to and make a diference to the
Eventually, John [Wardle] read the impressionable lay clientele” select, to rewrite and reconnect city and its life support. On
essays again and was struck by (see Martin Filler, Architectural what can be beautiful stories of reflection the monograph is a
the phrase This Building Likes Me. Record). They can reinforce the evolution of practice and a compelling resource for portfolio
No longer just a book, and never the stereotypes of architect as demonstration, in one bound place, re-exploration and for continuing
really a monograph, it now had a a personal aesthetician. This of the craft of architecture. As print the definition of your practice’s
character of its own. type argues arcane positions runs reduce, so too can quality unique personality. ar

66 SKELETONS
HARRY AND PENELOPE

SEIDLER’S HOUSE
IN SKELETONS AR LOOKS AT NOTABLE AND ICONIC
BUILDINGS WHEN THEY WERE STILL JUST A TWINKLING
IN THEIR CREATOR’S EYE.
arry Seidler (1923–2006)
H was born in Vienna and was

arguably one of Australia’s
most internationally recognised emigré
architects. He was also often credited
with bringing modernism to Australia.
In a career spanning almost 60
years, Seidler designed more than
180 projects, from single-family
houses and apartment buildings to
multistorey ofice towers and prominent
government commissions, mostly in
Australia, but also internationally.
After studying in the UK, and
working in Europe and the US, in 1948
Seidler moved to Sydney, following his
parents who had relocated there after
the war. He set up his private practice
soon after. His early work included
the Rose Seidler House at Turramurra
on Sydney’s north shore, which was
commissioned by his mother and won
the RAIA Sulman Medal in 1952.
In 1958 Harry married Penelope
Seidler (nee Evatt), also an architect,
and together they worked on the design
for their future home at 13 Kalang Drive,
in Killara, north of Sydney.
The stunning location of the house
adds to its theatricality. Looking out
onto the natural environment, there is a
creek running along the bottom of the
site, which turns into a gushing waterfall
during rainy periods.
The house has a powerful
horizontality, with its impressive
concreted balcony that opens out into the
bushland. It is where the Seidlers brought
up their children, Polly and Timothy, and
is as impressive today as it was when
completed. It was also the recipient of the
NSW Wilkinson Award of 1967. ar

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